Album Review: Razorback - Three Minutes of Glory

After a slew of reunion gigs and years since their last record, Razorback has ended their hiatus and proved their unbendable legacy with their latest full-length independently-released album, “Three Minutes of Glory”.

Formed in 1990 by ex-members David Aguirre, Miguel Ortigas and current guitarist Tirso Ripoll, the band played regular gigs in Makati before starting to jam with Wolfgang. The constant collaboration between the two bands led to the valuable addition of Bassist Louie Talan in late 1990 to 1991; and Kevin Roy on vocals in two or three years after the bands birth. Drummer Brian Velasco replaced Ortigas in 1997, with Manuel Legarda joining Ripoll in guitars – forming the current line-up of Razorback.

Being constantly sought-after for 21 years in the scene has proved that Razorback has a place at the top tier of the local rock pyramid. After individual side projects from the members and four years in the making, “Three Minutes of Glory” proves that evolution when it comes to sound is the key to a respectable run as musicians in the industry.

Launched last Oct. 28 at the Music Museum in Greenhills and recorded in Womb Works studio, Three Minutes of Glory is a spirited collection of 12 songs, all in different aural personas that made the band’s signature sound more magnetic and vehement.

The title track itself is a thrilling taste of Razorback’s ability to create something new without losing their signature thud. Filled with Velasco’s provoking hammers, jolting guitar frenzies from both Ripoll and Legarda, convulsing bass lines, piqued hooks and brassy vocals, the song is a reminder of how Razorback “was and is” at present – unyielding and tenacious.

“Earthbound” proves the girth of Talan’s talent in playing the instrument, with the melody running along the furrow of the bass lines while the guitars blending together like a perfect cocktail that will leave the right buzz after the song has been gulped by the ear.

Fans don’t have to expect the “usual” Razorback “sound” in the new album. Surprising tracks such as “Necromantic” featured Roy’s vocal cavalcade to its fullest, with tranquilizing notes corked with an ambient vibe and poetic lyricism. “She is the dark that makes me see/ she is the when that makes me be/ her breath is slow death,” sings Roy in this lingering track accompanied by a slight hum of a violin (by Jerome Nunez) and the usual faultlessness of the band’s dynamic.

“My vision fades with pulsing raids/ And in between the flashes I see your face” pens Roy in “Mea Culpa,” a track that shares the same possessive quality as Necromantic – prosaic with bluesy guitar inserts that will remind anyone of a forlorn gaze filled with meaningful, intravenous images shot by the song’s cavernous audible stroke.

The electrifying intro and euphony play of “Ayon Sa Kanya” has that “classic” factor that Razorback fans will rave for, with its elements reminding fans about the sound that gravitated them towards the band’s music for the first time.

“You and Your Sins” is a brawny track that shows off the skill of both the guitarists’ chord pattern crafting, with a sudden acoustic intermission, followed by a slower pace and a guitar solo, making it a tad reminiscent of Pink Floyd’s style.

“Atin Atin Lang” is a delicate and responding piece; “Pinapasok na kita sa buhay ko/ Ngayon ka pa mawawala”, as if Roy is tendering an omnipresent sentiment felt by many through a song and his vocal delivery.

“29” has an almost psychedelic intro with a proverbial formation of melodies and lyrics talking about the of odysseys of reaching this age, while the last track, “Father’s Day,” is an obvious, bass-heavy homage to the joys of having a child – proving that progression always goes in-sync with reality.

Because the album is independently-recorded, released and was intended to veer away from recording labels, fans can grab a copy by visiting Razorback’s Facebook page for details, by contacting 0927-8705637 and 0915-6212189, or dropping a message at jeepneyrockstop@gmail.com.